Contents

Pg 2: List of Figures

Pg 3: Introduction

Pg 4: Process of Artist: Style of working

Pg 5 -6: Process of Artist: Developments and Changes in Style

Pg 7 -9: Process of Artist: Methods of working, techniques, Idea Generation & Tools

Pg 10-11: Process of Artist: Content and Motives of work

Pg 12: Process of Artist: Influences, Edward Gorey

Pg 13-17: Practice of Artist: Forms of work, where Gauld’s work is found, who sees his work

Pg 17-18: Significance and Evaluation

Pg 19 -21: Bibliography & Referencing

List of Figures

Figure 1: Wood Ghosts 2009, created for the ‘New York Times’ illustration by Tom Gauld

Figure 2: The Unwanted Vampire 2011, created for a ‘Washington Post’ illustration by Tom Gauld

Figure 3: Comic strip from Both 2003, published by ‘Bloomsbury’ illustration by Tom Gauld

Figure 4: Science and Religion 2011, created for the ‘Guardian’ illustration by Tom Gauld

Figure 5: Goliath Sketchbook Page 2011, created for the graphic novel ‘Goliath’ illustration by            

                 Tom Gauld

Figure 6: Goliath Thumbnails 2011, created for the graphic novel ‘Goliath’ illustration by

                 Tom Gauld

Figure 7: Goliath Pencilled Page 2011, created for the graphic novel ‘Goliath’ illustration by

                 Tom Gauld

Figure 8: Comic strip from Both 2003, published by ‘Bloomsbury’ illustration by Tom Gauld

Figure 9: Comic strip from Goliath 2012, published by ‘Drawn & Quarterly’ illustration by Tom        

                 Gauld

Figure 10:  Example of Edward Gorey’s style of work illustration by Edward Gorey

Figure 11: Example of Edward Gorey’s style of work illustration by Edward Gorey

Figure 12: An example of the weekly cartoon for the Guardians Saturday Review illustration by   

                  Tom Gauld

Figure 13: An example of the weekly cartoon for the ‘New York Times Riff Essay’ illustration by                                

                   Tom Gauld

Figure 14: An example of the ‘New York Times’ Magazine website

Figure 15: Limited Edition Diet Coke Can US only 2010, illustration by Tom Gauld

The Illustrator: Tom Gauld

                                                                                      

An Introduction                                                             

In today’s computer fuelled society there is now more ways than ever before of creating imagery which can be scene worldwide instantaneously due to the creation of the internet and social media , almost everybody has the ability to capture photographs and videos instantly with the latest smart phones and digital cameras becoming ever more powerful. Whilst the development and ease of access of computerised software such as Photoshop has led to a boom in Graphic Design.

As a result art directors and publishers have vast choices as to what kind of imagery they can use surely making it one of the most difficult times to be an illustrator or can these technological advances actually be of benefit?

One such illustrator who has had to deal with this trend is Scottish Cartoonist Tom Gauld and it is Gauld’s work which I will investigate further exploring working methods his influences and where his illustrations are found in order to have a greater insight into the career of a modern day illustrator.

Gauld was born in Aberdeenshire, Scotland in 1976 and would go on to study Illustration at the Edinburgh College of Art before being offered a place at the Royal College of Art in London to complete an MA in 2001. His time at the Royal College of Art would prove pivotal as here he would learn more about comics and encouraged to create his own, he would also meet fellow student Simone Lia of whom he would go on to work together in the early stages of their careers. Gauld currently continues to live in London with his family.

Process of Artist

 (Figure1)[1]

The above image is a perfect example of Gauld’s style of work as it features many of the aspects which appear throughout his collection of illustrations helping them to remain consistent and unique. The use of line is one of the greatest aspects in his work with often many areas made up of short strokes of line helping the image to gain depth. The lines often have a slight wobble to them giving a kind of childlike feel, whilst crosshatching is also used helping to give tone.

The use of colour in figure 1 is also meaningful as it is very subtle and the limited use of colour helps the viewer focus on what the characters are doing rather than all the aspects of the setting they are in. This approach appears in almost all of Gauld’s work where a limited colour pallet is used again keeping his images consistent and allowing the reader to follow the story more easily as there is less to take in.

Finally figure 1 show’s that his characters are drawn again with an almost childlike quality for instance the girl has been constructed in a simple form with few features and quite rounded shapes making up the body. This is yet another key trait which runs throughout his work making it instantly recognisable as the characters are almost always designed with simple sphere shaped heads, a curved triangular body with thin arms and legs which are sometimes elongated again demonstrated below.

(Figure 2)[2]

Whilst you would expect the style of many illustrators to change somewhat as they develop Gauld differs to some extent. “My drawings have been vaguely similar to what I’m doing now since I was about twelve”[3] This helps to suggest why his characters appears to be childlike however this doesn’t mean they wont develop further in the future “I’m continually seeking a way of drawing people which satisfies me, I’m slowly getting better but I’m not there yet”[4]

This indicates that one of Gauld’s struggles is in drawing people however ironically it could be one of the best aspects to his style of work as his characters are very unique and are easily recognisable as his. With the style of drawing having changed little over the years what other aspects to his work have developed, surely there must be some noticeable changes?

(Figure 3)[5]

(Figure 4)[6]

The images above clearly indicate how Gauld’s current style of work has indeed changed from that of his earlier illustrations with the use of text being the main difference. Figure 3 shows a panel from one of his first short comics called ‘First’ and re published as ‘Both’ in 2003. It mainly allows the viewer to decide what is happening in the image through the characters actions with very little use of text to help tell the story. However figure 4 an example of Gauld’s more recent short comic strips for the Guardian Newspaper is packed with text helping to explain what is going on. This is something Gauld himself acknowledges “I’ve become confident with words, the more comics I make the more I get into storytelling and working with words”[7]

Another aspect of Gauld’s work that has developed recently is the quantity of his narratives. With initial comics ‘First’ and ‘Second’ being short and his weekly illustrations for the Guardian restricted to a small panel he may be seen as someone whose narratives lack greater storylines. However that changed this year with the publication of his first full length graphic novel ‘Goliath’.

  (Figure 5)[8]

                          

(Figure 6)[9]                                                         (Figure 7)[10]

Despite his childlike characters Gauld’s illustrations could be perceived as being time consuming to create due to the amount of short line strokes and cross hatching which occur throughout many of his images. Indeed the working methods he uses to reach his final works could also be scene as tiresome for instance figures 5 to 7 indicate there are many processes his drawings go through before the final outcome.

Firstly his art begins with the use of his sketchbook “I sit and think and doodle in my Sketchbook until I have a good idea”[11] As figure 5 shows he packs his sketchbook pages which lots of small drawings with various ideas for characters and stories accompanied by brief snippets of text to indicate what his ideas are about. Once he is happy with an idea he moves out of his sketchbook and begins making rough plans on copier paper as seen in figure 6 these tend to be very basic layout plans for how his comic panels will look for example the size of each panel and rough idea of the content.

Once again working outside his sketchbook on paper Gauld develops these initial plans much further using pencil drawings to finalise an image design he is happy with. Figure 7 shows the level of these refined pencil drawings the quality of which is very similar to his final work and this would certainly be suitable to send to publishers to show how the work is likely to look.

Yet he scans this level of pencil drawings into Photoshop where he edits them further before he is finally happy with the design.  However there are still many more stages of the process as Gauld explains “I will print out the image and use a light box to trace an ink version which I crosshatch then scan back into the computer where I can clean it up, tweak bits and add any colour”[12]

This proves that his working methods are rather time consuming simply due to repetition as he draws the images over and over again. But also that the use of modern technology such as Photoshop has surely been of real benefit in speeding up some of the final processes in particular adding colour which can be done quickly with a click of a button in Photoshop. Because other techniques of adding flat colour such as screen printing would questionably make completing his illustrations rather tedious and limit his chances of working to tight deadlines plus Photoshop is an easily accessible tool. However Gauld doesn’t rely on the computer “I love using the computer but I try to stay away from it till I’ve done most of the thinking for an idea, looked at it from all sides, because I feel that once the computer is involved things are on an inevitable path to being finished”[13]

Once again this shows that using computer software allows Gauld to finish his illustrations quicker however the originality in his works are kept by insuring the majority of the process is done by hand.

Whilst working on a computer Gauld uses a Wacom Tablet once again this reiterates how the development of modern technology is actually of benefit, as a more recently developed tool it gives a more natural drawing feel on a computer therefore allowing software such as Photoshop to be of more value to an illustrator as you can now recreate your style of drawing more easily than using an old computer mouse. Furthermore the software is of more significant use to Gauld “I’m a bit colour blind, but the computer lets me endlessly change things till they’re right, plus I can check the CMYK values”[14] Again this proves that modern day software speeds up his working process as because he is slightly colour blind without it he would have to get assistance from other people to make sure the colour is correct yet the computer can do this for him.

With the majority of coloring completed using a computer and his style of work being very consistent it would be expected that his use of traditional materials would be limited for instance a lack of colour tools such as paints and inks and Gauld backs this up “The Uniball is my favourite tool” “I don’t have a huge collection and I’m not hugely experimental”[15] This suggest that he mainly uses just inking pens and pencils to create his images and of course Photoshop for colour the only other tools used are a lightbox, drawing tablet and paper.

                                                                                              (Figure 8)[16]

(Figure 9)[17]

The content and storylines of the majority of Gauld’s own comics and illustrations are very similar in that they all tend to create a sense of dry humour by playing with important and heroic characters and placing them in everyday mundane situations. The above figures demonstrate many of the key traits which run throughout his work. For instance Figure 8 reverses how strong and powerful wrestlers are seen by placing them in a storyline of which the pair feed ducks rather than a usual fight scene. Figure 9 from latest comic ‘Goliath’ again takes a strong and well renowned biblical character and instead of featuring the character in a fight scene as would be expected Gauld plays with the idea that he would be more interested in doing admin work. It is by doing the complete opposite of what these archetypal characters are renowned for that brings the humour in Gauld’s work. However does Gauld approach his commissioned work in a similar way for instance the Guardian where he illustrates a letters column? “IL be sent the letter which is my theme and I try and come at it from an interesting new way”[18]

This shows that even on more restricted work Gauld doesn’t simply describe the accompanying text he uses his illustrations to play and manipulate the story differently and this is a clear motive behind the content he is trying to show throughout his works.

The settings in which these characters are found in often tend to be isolated landscapes with few features as figure 9 demonstrates. He also plays with perspective in order to emphasis these lonely landscapes as often there are panels which are zoomed out showing the characters as small silhouettes.

            

(Figure 10)[19]                                                        (Figure11)[20]

Artists that have been of influence include Chris Ware, Heather Robinson and Jason. However there is one person whose style of drawing has clearly played a more crucial role and that is of American Edward Gorey. He produced his own graphic novels and comic work during the 20^th Century; the pair’s illustrations are so alike with backgrounds including lots of short line strokes just like Gauld’s approach. Figure 1 is so similar in style to Gorey’s work in figure 11 especially identical is the way they both use line in the dark and light areas of an image by reversing the colour of line between the two surely he must have adapted his drawing technique from Gorey?

“The way I crosshatch (with small “patches” of short lines rather than long ones) I learned from Gorey”[21] “For a while at college I was just copying Gorey”[22]

The above statements by Gauld proves he taught his style by observing Gorey’s images it demonstrates how an illustrators style of work is formed by adapting aspects they like from others to their own practice. It’s also significant in suggesting how Gauld’s work has remained so consistent throughout his professional career and that is because one of his biggest influences was discovered at an early stage of his development at college.

Practice of Artist

Unlike his style of illustrating which has remained very consistent, the forms in which we see Gauld’s work and where it is applied differ more greatly.

The publishing of his comic books has been one of the biggest changes; at the beginning of his career he began to self publish alongside fellow student Simone Lia. The pair formed Cabanon Press (currently not being operated) in order to help promote and publish their own comics. This gave Gauld complete control over his own work which is clearly important to him “ When I started I was as much interested in designing, making and publishing a book as I was in the actual stories”[23]

However for his latest comic ‘Goliath’ his first long narrative, Canadian publishers Drawn & Quarterly have been used to help publish it and although it would be expected to restrict his work this was not the case.

“Working with Drawn & Quarterly they were so keen to help me to do it the way I wanted to the process wasn’t actually that different”[24]

Whilst the audience of his personal comic books are more limited to those who closely follow his work and comics in general, Gauld’s illustrations have become more widespread due to obtaining a weekly cartoon for the Guardian Newspaper’s Saturday Art and Book Reviews letters section as seen below in figure 12. Significant for several reasons firstly being a national paper achieving 202,675 sales on a daily basis in October 2012[25] a whole range of people will buy it many likely not to have seen his drawings before purchasing the paper. This not only raises his profile but brings the potential of more work as he is more likely to get recognition. He has created weekly cartoons for the Guardian since 2006 and unlike his own personal comic books he has to keep this to a strict timetable and small scale. However the Guardian isn’t the only newspaper that Gauld produces a weekly image for the other being the New York Times where he creates a piece for the Sunday magazine to accompany the riff essay. Once again these illustrations are more restrictive as figure 13 shows the format is a narrow strip image.

(Figure 12)[26]

(Figure 13)[27]

(Figure 14)[28]

Similarly to the Guardian the New York Times will be seen by a wide amount of people and being an American paper it opens Gauld’s work to a whole new audience. However the way in which his work is used by the New York Times is also significant in showing that modern technology is again of benefit to Gauld.

This is because as well as featuring in the papers weekly magazine, the riff essay is included on the organisations website to read accompanied by the image as scene in figure 13. Furthermore Gauld’s images are used on the Magazine home web page as a link to the essay page as figure 14 demonstrates. This means the number of times his image is seen is vastly increased and once again opens up a greater audience as not only people who live in New York can see it but all over the world through the internet. In fact Gauld has very much embraced the use of the internet and in particular newly formed social media. He has his own website which includes an online shop where people can make orders of many of his comics. He also uses the image sharing site Flickr where he places many examples of various stages of his work these are then often shared or grouped to other artwork pages within the site again helping to publicize his images to a wider audience. Gauld also uses social site Twitter where he again uploads his work but gives his views on his own practice and work he likes. With over 9,500 people following his Twitter account it’s yet another way of quickly promoting his work and possibly gaining more by it.

(Figure 15)[29]

So far this investigation has shown that Gauld’s work is found just in conventional forms such as comic books however figure 15 disapproves this. Here he illustrates limited edition Diet Coke cans in the US in order to help raise awareness of the health of women’s hearts. Once again important as this is a totally new audience again helping to capture more admires of his drawings. Furthermore it isn’t just still work that Gauld has worked on as he also helped to produce short animations for the Diet Coke campaign and has also had his illustrations included in an animated television advert by Boots.

Significance and Evaluation

Overall I have discovered that all of Gauld’s illustrations I have researched are clearly recognizable as his own work. You’re never in any doubt as to whose artwork you’re looking at when viewing his images. There are several reasons to this firstly consistency is paramount all of his images contain a very similar style of working from the build up of short lines to the limited use of colour. Gauld is an artist who maybe could be seen to lack experimentation yet this hasn’t seemed to hold him back proved by the success of his weekly illustrations for the Guardian which have been produced weekly for 6 years now. Also acting as a kind of fingerprint to his work is the way in which he draws people. I believe this is the most unique aspect to his drawings ironic as drawing people is one of his greatest struggles. But as soon as you see the curved triangular figures they jump out at you as something Gauld has created. For instance the illustrations he completed for the Diet Coke cans are very simple with little imagery or backgrounds to help stamp his style. Yet this doesn’t matter as the small character used is the perfect trait of Gauld’s illustrations it shows this is the only key element that is really needed for him to be recognised. 

I also discovered that for the majority of his images no matter whether commissioned or not he always try’s to provide humour by playing with the way we perceive things rather than accurate interpretations its almost at though he is creating his own fantasy world where characters and objects are the complete opposite or very different to what they are like in reality.

Throughout I wanted to understand if the modern day illustrator is affected by the changes in technology and whether or not it is a positive change. In the case of Gauld I believe it has helped him in many ways with the main benefit being practicality. Modern advances such as computer software have become an integral part of creating his images another tool but importantly helping speed up his process. Whilst the internet acts as a further tool to gain recognition as Gauld has demonstrated there are many ways current illustrators can spread there work quickly to others.

Finally I find it difficult to suggest how significant Gauld is as an artist. He is still fairly early in his career professionally illustrating for the past decade yet there is still little evidence whilst researching of him being a key figure to others. Despite this I believe he’s been successful as throughout this time he’s managed his own personal comics alongside regular commissioned work and these commissioned pieces are for major companies. The Guardian, The New York Times and Coca Cola this clearly prove that he is well regarded and I am confident he will in time become more of an influence to others.

 

Bibliography

Books:

Gauld, Tom (2003), ‘Both’ Bloomsbury Publishing, London, pg 3, 42

Lia, Simone (2005), ‘Fluffy’ Cabanon Press, London

Websites:

Bec, Alex (2009), ‘Tom Gauld’, http://www.itsnicethat.com/articles/2226-tom-gauld

(Accessed 1/12/2012)

Burga, Hector (2012), ‘The Epic Spaces of Tom Gauld’,

http://www.thepolisblog.org/2012/11/the-epic-spaces-of-tom-gauld.html (Accessed 1/12/2012)

Campbell, Hayley (2012), ‘Small Human Ordinariness: An Interview With Tom Gauld’, http://www.tcj.com/small-human-ordinariness-an-interview-with-tom-gauld/  (Accessed 1/12/2012)

Carter, Randolph (2005), ‘An Interview With Tom Gauld’, http://www.3ammagazine.com/litarchives/2005/sep/interview_tom_gauld.shtml (Accessed 1/12/2012)

Dan (2011), ‘Q & A with Tom Gauld’, http://www.casualoptimist.com/2011/08/23/q-a-with-tom-gauld/ (Accessed 2/12/2012)

Galbraith, Deane (2012), ‘Tom Gauld’s Goliath’, http://remnantofgiants.wordpress.com/2012/01/24/interview-with-tom-gauld-about-his-forthcoming-graphic-novel-goliath/  (Accessed 2/12/2012)

Gauld, Tom (2009), ‘The Tools Artists Use, Tom Gauld’, http://thetoolsartistsuse.com/2009/08/tom-gauld/ (Accessed 2/12/2012)

Lees, Gavin (2011), ‘Interview: Tom Gauld, http://www.graphic-e-y-e.com/2011/12/interview-tom-gauld.html  (Accessed 4/12/2012)

Marco (2011), ‘A natter with Damned Busters cover artist Tom Gauld’, http://angryrobotbooks.com/2011/05/a-natter-with-damned-busters-cover-artist-tom-gauld/ (Accessed 1/12/2012)

Sinclair, Mark (2010), ‘Tom Gauld Diet Coke’ http://www.creativereview.co.uk/cr-blog/2010/march/tom-gauld-cans (Accessed 1/12/2012)

Spurgeon, Tom (2012), ‘CR Sunday Interview: Tom Gauld’, http://www.comicsreporter.com/index.php/cr_sunday_interview_tom_gauld/ (Accessed 3/12/2012)

Spurgeon, Tom (2011), ‘CR Interview: Alexander Theroux on Edward Gorey’, http://www.comicsreporter.com/index.php/index/cr_interview_alexander_theroux_on_edward_gorey/ (Accessed 3/12/2012)

Video:

Goshcomics (2012), ‘Tom Gaulds’s Goliath at Gosh’,

http://www.youtube.com/watch?v=0qd9Fg3uJd8&feature=player_embedded      (Accessed 2/12/2012)

Other:

The Guardian Newspaper (2012), ‘Saturday Review’, 19.05.12 Issue

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[1]Gauld, Tom (2009), ‘Tom Gauld Wood Ghosts Illustration for the New York times’,      http://www.tomgauld.com/index.php?/portfolio/ghosts/  (Accessed 1/12/2012)

[2] Gauld, Tom (2011), ‘The Unwanted Vampire Illustration for the Washington Post’, http://www.flickr.com/photos/tomgauld/5856477724/in/photostream (Accessed 1/12/2012)

[3] Bec, Alex (2009), ‘Tom Gauld’, http://www.itsnicethat.com/articles/2226-tom-gauld (Accessed 1/12/2012)

[4] Marco (2011), ‘A natter with Damned Busters cover artist Tom Gauld’,

http://angryrobotbooks.com/2011/05/a-natter-with-damned-busters-cover-artist-tom-gauld/ (Accessed 1/12/2012)

[5] Gauld, Tom (2003), ‘Both’ Bloomsbury Publishing, London, pg 3

[6] Gauld, Tom (2011), ‘Science and Religion cartoon for the Guardian’, http://www.flickr.com/photos/tomgauld/6115903504/in/photostream (Accessed 1/12/2012)

[7] Burga, Hector (2012), ‘The Epic Spaces of Tom Gauld’,http://www.thepolisblog.org/2012/11/the-epic-spaces-of-tom-gauld.html (Accessed 1/12/2012)

[8] Gauld, Tom (2011), ‘Goliath Sketchbook Page’, http://www.flickr.com/photos/tomgauld/6964069427/in/photostream (Accessed 2/12/2012)

[9] Gauld, Tom (2011), ‘Goliath Thumbnails’, http://www.flickr.com/photos/tomgauld/6964070027/in/photostream (Accessed 2/12/2012)

[10] Gauld, Tom (2011), ‘Goliath Pencilled Page’, http://www.flickr.com/photos/tomgauld/6964070457/in/photostream (Accessed 2/12/2012)

[11] Dan (2011), ‘Q & A with Tom Gauld’, http://www.casualoptimist.com/2011/08/23/q-a-with-tom-gauld/          (Accessed 2/12/2012)

[12] Dan (2011), ‘Q & A with Tom Gauld’ ,http://www.casualoptimist.com/2011/08/23/q-a-with-tom-gauld/          (Accessed 2/12/2012)

[13] Dan (2011), ‘Q & A with Tom Gauld’ ,http://www.casualoptimist.com/2011/08/23/q-a-with-tom-gauld/          (Accessed 2/12/2012)

[14] (2009), ‘The Tools Artists Use, Tom Gauld’, http://thetoolsartistsuse.com/2009/08/tom-gauld/ (Accessed 2/12/2012)

[15] (2009), ‘The Tools Artists Use, Tom Gauld’, http://thetoolsartistsuse.com/2009/08/tom-gauld/ (Accessed 2/12/2012)

[16] Gauld, Tom (2003), ‘Both’ Bloomsbury Publishing, London, pg 42

[17] Galbraith, Deane (2012), ‘Tom Gauld’s Goliath’, http://remnantofgiants.wordpress.com/2012/01/24/interview-with-tom-gauld-about-his-forthcoming-graphic-novel-goliath/  (Accessed 2/12/2012)

[18] Goshcomics (2012), ‘Tom Gaulds’s Goliath at Gosh’, http://www.youtube.com/watch?v=0qd9Fg3uJd8&feature=player_embedded       @4:45 (Accessed 2/12/2012)

[19] (2009), ‘Illustration Friday-Edward Gorey’, http://allsaidanddone.com/2009/11/06/illustration-friday-edward-gorey/ (Accessed 3/12/2012)

[20] Spurgeon, Tom (2011), ‘CR Interview: Alexander Theroux on Edward Gorey’, http://www.comicsreporter.com/index.php/index/cr_interview_alexander_theroux_on_edward_gorey/

 (Accessed 3/12/2012)

[21] Dan (2011), ‘Q & A with Tom Gauld’ ,http://www.casualoptimist.com/2011/08/23/q-a-with-tom-gauld/          (Accessed 3/12/2012)

[22] Spurgeon, Tom (2012), ‘CR Sunday Interview: Tom Gauld’, http://www.comicsreporter.com/index.php/cr_sunday_interview_tom_gauld/ (Accessed 3/12/2012)

[23] Dan (2011), ‘Q & A with Tom Gauld’, http://www.casualoptimist.com/2011/08/23/q-a-with-tom-gauld/          (Accessed 3/12/2012)

[24] Goshcomics (2012), ‘Tom Gaulds’s Goliath at Gosh’, http://www.youtube.com/watch?v=0qd9Fg3uJd8&feature=player_embedded   @6:50 (Accessed 3/12/2012)

[25] Guardian.co.uk (2012), ‘ABCs: National daily newspaper circulation October 2012’,

http://www.guardian.co.uk/media/table/2012/nov/09/abcs-national-newspapers (Accessed 3/12/2012)

[26]  The Guardian  (2012), ‘Saturday Review 19.05.12’,

[27] Garner, Dwight (2012), ‘A Critic’s Case for Critics Who Are Actually Critical’, http://www.nytimes.com/2012/08/19/magazine/a-critic-makes-the-case-for-critics.html?pagewanted=all   

(Accessed 3/12/2012)                           

[28] New York Times (2012), ‘Magazine’, http://www.nytimes.com/pages/magazine/index.html (Accessed 4/12/2012)

[29] Lees, Gavin (2011), ‘Interview: Tom Gauld, http://www.graphic-e-y-e.com/2011/12/interview-tom-gauld.html  (Accessed 4/12/2012)